The lure of Gold-frapp

We're not sure, but we somehow doubt that Target's Christmas range is going to include strap-on tails or sex-horse heads, but even so, they're going to be using Goldfrapp as the soundtrack to their festive ad campaign.

Now, while this is probably good news for US TV viewers - when faced with Westlife on those bemusing Woolworths Christmas adverts (a company that signed off that mess for transmission is one whose shares are screaming to be dumped as swiftly as possible) who wouldn't rather have a spot of Goldfrapp - it does demonstrate a somewhat disappointing grubbing for cash. And if the band don't seek the extra money, they're not exactly discouraging their label:

It's the latest in the cult act's long string of licensing coups, which span two albums (2003's "Black Cherry" and this year's "Supernature") and include big names like Verizon, Diet Coke, "Grey's Anatomy" and "The OC." And the train's not showing any sign of slowing down.

"With some pitching and pushing, all of the songs on 'Supernature' have what it takes," says Cynthia Sexton, EMI Music Marketing senior vice president of marketing and licensing. "To the tune of a lot of money."

In today's changing marketplace, Goldfrapp is helping redefine the prototype of success, using licensing wins to drive buzz, sales and radio play, rather than vice versa.

But is that what they want? Rather than being the icy-cool cross-species sexperimentation flashsquad, Goldfrapp would rather be the Diet Coke band? Isn't that the sort of thing better left to the artistic vacuums of Snow Patrol and their ilk?

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